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<h1><a href="https://archiveofourown.org/works/24906115">And A Child Shall Lead Them - February 20, 1984</a> by <a class='authorlink' href='https://archiveofourown.org/users/ChristmasAngel/pseuds/ChristmasAngel'>ChristmasAngel</a></h1>

<table class="full">

<tr><td><b>Category:</b></td><td>Quantum Leap</td></tr>

<tr><td><b>Genre:</b></td><td>Alternate Mirror Image, F/M, script form</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>Completed</td></tr>

<tr><td><b>Published:</b></td><td>2020-06-25</td></tr>

<tr><td><b>Updated:</b></td><td>2020-06-25</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-04 03:15:21</td></tr>

<tr><td><b>Rating:</b></td><td>General Audiences</td></tr>

<tr><td><b>Warnings:</b></td><td>Creator Chose Not To Use Archive Warnings</td></tr>

<tr><td><b>Chapters:</b></td><td>7</td></tr>

<tr><td><b>Words:</b></td><td>11,422</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/24906115</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/ChristmasAngel/pseuds/ChristmasAngel</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>Sam leaps into an 8-year old boy dying of AIDs and begins to develop similar symptoms. Meanwhile, back at the  project...</p>
            </div></td></tr>

<tr><td><b>Kudos:</b></td><td>5</td></tr>

</table>

<a name="section0001"><h2>1. Teaser - Act 1, Part 1</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Author's Note:</b><blockquote class="userstuff">
      <p>A 'kitchen sink' episode fulfilling a leaper's wish list that works as an alternate to "Mirror Image." Written in August 1992, before "Dreams" and "Trilogy," in script form. This is my first contribution to AO3.</p>
    </blockquote></div><div class="userstuff module">
    
    <p>FADE IN:</p>
<p>INT. HOSPITAL BEDROOM - DAY</p>
<p>LEAP IN - A chaotic blur of blue stabilizes into the form of Sam Beckett stretched out in a hospital bed. Strings of tubing splay out from his arms, and nose. Sunlight, desperately peeking through the curtains, glances off an EKG machine and plasma pole. </p>
<p>There is an empty bed next to him. Sam blinks at the silhouette beside his bed, which is producing sobs. A face dips in front of the light, and he is able to make out the features of a young woman, REBECCA KAUFMAN, gently crying, her mascara running. She is young, with her hair coifed in mid-80's style.</p>
<p>Next to her is her husband MERL KAUFMAN, a man scared of his own son and oblivious to his wife's grief. He stares down at Sam - aware of only his own inner turmoil.  Both adults are swathed in protective gear: masks, gowns, gloves.</p>
<p>MERL</p>
<p>                        Don't worry, Ray. Your mother and I will try to be here...</p>
<p>(under his breath)</p>
<p>                        Until the end.</p>
<p>He looks away suddenly and Sam realizes they're grieving for him – the person he leaped into is going to die.  Sam is momentarily at a loss for words.</p>
<p>SAM</p>
<p>                        Thanks...Dad?</p>
<p>A sudden commotion at the door reveals a middle-aged specialist, DR. SAUL, chart in hand, breezing to the bed.  He has a mask, gloves and other protective garments on.</p>
<p>DR. SAUL</p>
<p>                        Good morning, Raymond. I'm here to talk to your folks.</p>
<p>                        You just rest and we'll be right back. Mr. and Mrs. Kaufman?</p>
<p>He deposits the chart at the foot of the bed and motions for them to follow him near the door. They talk in soft voices. Rebecca slowly gets emotional, unable to stand and leans against her husband. Merl is stiff and doesn't even put his hand around her.  Sam's curiosity is sparked and he carefully inches his way to the foot of the bed, careful of the tubes, to grab the chart.  As he reads, he finds it difficult not to become emotional. It says he is in the last stages of pneumonia brought on by AIDS.</p>
<p>SAM</p>
<p>                         AIDS.</p>
<p>He reads the top portion: "Name: Raymond Kaufman. DOB: 11/1/76. MR #121700. Doctor: Saul."  When he catches his reflection in the polished machinery, he inhales sharply.</p>
<p>SAM'S POV - MIRROR IMAGE</p>
<p>Gazing back is the sad, sickly face of small child approx. 8 years old. Either in sympathy or caught up in the drama around him, Sam's eyes tear.</p>
<p>SAM</p>
<p>(softly)</p>
<p>                        Oh, God.</p>
<p>
  <strong>
    <span class="u">END TEASER</span>
  </strong>
</p>
<p> </p>
<p>
  <strong>
    <span class="u">ACT ONE</span>
  </strong>
</p>
<p>ESTABLISHING SHOT - EXT. DAY</p>
<p>Hospital front with the words "Monterey Children's Hospital." </p>
<p>CUT TO:</p>
<p>INT. HOSPITAL ROOM</p>
<p>Sam wipes his misting eyes and redeposits the chart. When he makes eye contact with the doctor trying to get back under the covers, one of the tubes pulls out . Not a pleasant experience. Dr. Saul makes a face and starts to walk over as Sam tries desperately to put back the needle.</p>
<p> </p>
<p>DR. SAUL</p>
<p>                        Young man, what do you think you're doing? Stop.</p>
<p>                        I'll have one of the nurses do it. </p>
<p>                        That'll teach you next time to go wandering. Eh?</p>
<p>He pats Sam's head. The doctor's features and pleasant though professional manner remind Sam of his own father.</p>
<p>DR. SAUL</p>
<p>(CONT’D)</p>
<p>                        You're awfully rambunctious today.</p>
<p>SAM</p>
<p>(covering)</p>
<p>                        Well, you know...</p>
<p>DR. SAUL</p>
<p>                         Must be the sunshine.</p>
<p>The parents, now beside the bed, start doting over him. Rebecca tucks in the covers, while Merl turns to Dr. Saul.</p>
<p>MERL</p>
<p>(sotto voce)</p>
<p>                        How long?</p>
<p>DR. SAUL</p>
<p>                        Yesterday, I would have said hours, at most a day.</p>
<p>                        But the way he's acting now...who knows?</p>
<p>As they continue talking, Sam is distracted by the Imaging Door opening. Al appears with the handlink already quacking and concern on his face.</p>
<p>OBSERVER</p>
<p>                        Sam, I don't want to scare you, but there's something</p>
<p>                        strange happening at the Waiting Room.</p>
<p>SAM</p>
<p>                        What?</p>
<p>The doctor and Merl turn to Sam thinking he missed something they said.</p>
<p>DR. SAUL</p>
<p>                        Mr. and Mrs. Kaufman, let's go to my office for a bit.</p>
<p>                        You take it easy, pal. We'll be back in a moment.</p>
<p>SAM</p>
<p>(to Al)</p>
<p>                        What's happening?</p>
<p>While Al explains, Sam's pallor begins to turn ashen and he gradually breaths and perspires heavily.</p>
<p>OBSERVER</p>
<p>                        When you leaped, this boy...</p>
<p>SAM</p>
<p>                        Raymond Kaufman.</p>
<p>OBSERVER</p>
<p>                        Yeah, Ray. He leaped in. Not a pretty picture, Sam.</p>
<p>                        He could barely breath, very weak and his, your body...</p>
<p>SAM</p>
<p>                         The aura of my body.</p>
<p>OBSERVER</p>
<p>                        Right, well, whosever body had a temperature of 105 .</p>
<p>SAM</p>
<p>                        Did Verbena stabilize?</p>
<p>OBSERVER</p>
<p>                        She didn't have to.</p>
<p>SAM</p>
<p>                        What?</p>
<p>OBSERVER</p>
<p>                        After a couple of minutes, his temperature was normal, </p>
<p>                        his breathing got regular and..Sam, you OK?</p>
<p>SAM</p>
<p>(beginning to gasp)</p>
<p>                        Al, what's happening to me?</p>
<p>OBSERVER</p>
<p>                       We were afraid of this. That's why I came as soon as I could.</p>
<p>SAM</p>
<p>(fading fast)</p>
<p>                        But I'm not supposed to be sick...</p>
<p>OBSERVER</p>
<p>                       We know that. But something has changed.</p>
<p>SAM</p>
<p>                       How?</p>
<p>OBSERVER</p>
<p>                       We're still trying to figure that out. Until then, this is going</p>
<p>                        to be a bumpy ride.</p>
<p>Sam is now almost completely incapacitated.</p>
<p>SAM</p>
<p>                        Could it be all this medication? It's going into my body,</p>
<p>                        which doesn't need it...</p>
<p>OBSERVER</p>
<p>                        No, Sam. You don't understand. There seems to be</p>
<p>                        some kind of switch happening. The boy who leaped into</p>
<p>                        the project is healing.</p>
<p>SAM</p>
<p>(scared)</p>
<p>                        ...and I'm dying?</p>
<p>There is a strained pause then Al tries to keep busy with the handlink, spewing positive 'Al-isms.'</p>
<p>OBSERVER</p>
<p>                       Don't worry, Sam. </p>
<p>(pointing up)</p>
<p>                        He wouldn't let you die. And we're full out working on</p>
<p>                        this one. Ziggy says there's a 60% chance you're not</p>
<p>                        even here for Ray. She says it has something to do</p>
<p>                        with the parents. And the odds for your surviving this</p>
<p>                        leap are...</p>
<p>SAM</p>
<p>                        Al, I don't feel...</p>
<p>With violence, Sam is suddenly in the throes of a seizure. Air is barely able to pass through the parched lips and filled lungs. He struggles with every breath.</p>
<p>OBSERVER</p>
<p>                       Sam? Oh, God. Sam!</p>
<p>The machine registers erratic lines and a piercing sound emanates. The room is quickly filled with nurses and doctors. "Code Blue" echoes the halls. Dr. Saul and Ray's parents enter. The latter are quickly escorted out when Rebecca becomes too emotional and Merl tries to shake her out of it.  On the bed, Sam's eyelids flit and his eyes roll back. The sheets are ripped off and the paddles to restart his heart are brought out. The effort of the team is extraordinary, but painful for Al to watch.  Though choked up and trying to keep his eyes on the rescue, Al turns his head, listening to an unheard voice.</p>
<p>OBSERVER</p>
<p>(continuing)</p>
<p>                        It's not good. Come quickly.</p>
<p>TIGHT CLOSE UP on Al's hand as it is magically filled with the slender hand of a woman.</p>
<p>PULL-BACK to see the materialized, tearful Donna - Sam's wife. Dressed in hospital garb, she is very pregnant and extremely distraught. Al hugs her close.</p>
<p>OBSERVER</p>
<p>                        It's all right, Donna. He won't die. I know it.</p>
<p>DONNA</p>
<p>                        Al, he doesn't deserve this.</p>
<p>OBSERVER</p>
<p>                        No, but I think God wanted the little boy back in the</p>
<p>                        waiting room to be free of the pain, if just for a moment.</p>
<p>DONNA</p>
<p>                        But the price, Al. He's...he's dying.</p>
<p> </p>
<p>She starts to cry on Al's shoulder.</p>
<p>CLOSE-UP</p>
<p>Her hand, gripping Al's shoulder, suddenly tightens. </p>
<p>OBSERVER</p>
<p>                         What's the matter?</p>
<p>DONNA</p>
<p>                       I'm sorry. It's getting worse.</p>
<p>Al's torn, but realizes there's nothing he can do for Sam.  He starts to urge Donna away toward the Imaging Chamber door.</p>
<p>DONNA</p>
<p>                        No. I have to stay. I'll be fine.</p>
<p>OBSERVER</p>
<p>                        Verbena, cue the medical team in delivery. </p>
<p>                        And Mrs. Beckett, you are not fine. Let's go.</p>
<p>She struggles against him, then her face brightens.</p>
<p>DONNA</p>
<p>                        Al. Look.</p>
<p>They turn to see the medical team all smiles. The machine beeps regularly. Dr. Saul pats Sam's head. Sam turns to him and weakly smiles back. He cannot talk - a tube is down his throat. </p>
<p>SAM'S POV</p>
<p>Past the excited nurses, a blurry vision of his friend Al outlined by the I.C. light shimmers in the background.</p>
<p>CLOSE-UP</p>
<p>On the tired face of Sam - until he sees Donna. There's an unquenched yearning there. He tries to reach her, his arm shaking with the effort. Unable to, a single tear makes its way down his cheek.</p>
<p>DONNA</p>
<p>(moved)</p>
<p>                        Sam.</p>
<p>OBSERVER</p>
<p>                       Donna, you can't.</p>
<p>DONNA</p>
<p>                        He sees me, Al. I have to. Please.</p>
<p>The two walk closer, Al supporting the struggling woman.</p>
<p>DONNA</p>
<p>                        Sam, I miss you so. And love you.</p>
<p>Sam only has eyes for her eyes. They are losing each other in them, until a sharp contraction, brings a pained look to Donna's eyes. Sam looks at her frantically, concerned. He finally sees her bulging stomach and his eyes widen.</p>
<p>DONNA</p>
<p>(gently)</p>
<p>                        Surprise, Daddy. We're going to have a baby.</p>
<p>                        There's so much I've wanted to tell you...</p>
<p>Donna wants to pull him in her arms, to wipe away his tears, but can only comfort him with her voice.  Sam tries to smile. He's overwhelmed by the past moments.  Al encourages her to leave.</p>
<p>OBSERVER</p>
<p>                       C'mon Donna. He needs to rest; so do you.</p>
<p>                       And we all need a break. I'll be back, Sam. Chin up.</p>
<p>Donna doubles over with another contraction, and Sam's eyes go to Al.</p>
<p>OBSERVER</p>
<p>(to Sam)</p>
<p>                        She'll be all right. I promise.</p>
<p>With a guiding hand, Al leads her reluctantly to the door.  She turns back briefly to give him an encouraging smile.  In an instant, they're both gone and Sam's fists clench not in pain, but in frustration.</p>
<p>CUT TO:</p>
<p>INT. IMAGING CHAMBER - In the distance a faint outline of the hospital bed can be seen, then vanishes with the door slam. Al is practically carrying the mother-to-be and a gurney is wheeled in. Verbena and several techs help Donna on. Katie Beckett, now grown and elegant, holds Donna's hand.</p>
<p>KATIE</p>
<p>(trying to be calm)</p>
<p>                        How did he look?</p>
<p>Donna bites her bottom lip. What can she say - "He looked like he was dying"?</p>
<p>DONNA</p>
<p>                        Like a little boy. Scared and tired.</p>
<p>KATIE</p>
<p>                        Is he OK?</p>
<p>DONNA</p>
<p>                        I think so. This leap isn't the same as others.</p>
<p>OBSERVER</p>
<p>(glaring)</p>
<p>                        It's a good thing you have security clearance, Katie.</p>
<p>KATIE</p>
<p>                        Comes from being married to a military man.</p>
<p>Al smirks. The entourage enters a brightly lit room.</p>
<p>
  <strong>
    <span class="u">END ACT I, PART I</span>
  </strong>
</p>
  </div></div>
<a name="section0002"><h2>2. ACT 1, PART 2</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>INT. PROJECT QUANTUM LEAP DELIVERY ROOM</p>
<p>Donna is in the middle of another contraction as they enter. The contractions are coming faster and Donna is torn between the physical and psychological pain: she desperately wants Sam.  They put her on a semi-futuristic birthing chair.</p>
<p>KATIE</p>
<p>                        Breath, Donna.</p>
<p>DONNA</p>
<p>(between pants)</p>
<p>                        Oh, Katie. I need him here.</p>
<p>KATIE</p>
<p>                        I know. We'd all like him back. It'll happen.</p>
<p>Throughout this exchange, Al paces in the background. One of the techs tells him to douse the cigar.  Something is whirling in his brain. He puts out the cigar and intercepts Verbena.</p>
<p>OBSERVER</p>
<p>(low)</p>
<p>                        I need to talk to you right now.</p>
<p>VERBENA</p>
<p>                        Now's hardly the time, Al.  Donna's close to delivery. <br/>                        Sam's  in the past dying from AIDS. And next door, a scared <br/>                        little boy in a man's image wants to know if he's in Heaven.</p>
<p>OBSERVER</p>
<p>                        Hands full?</p>
<p>She gives an exasperated exhale and starts to walk away. Al grabs her arm.</p>
<p>OBSERVER</p>
<p>                        I'm sorry, Beenie. Look. You have to prep me. I want Sam to be here for this.</p>
<p>VERBENA</p>
<p>(stunned)</p>
<p>                        You're crazy!</p>
<p>OBSERVER</p>
<p>                        No. I've never been more serious.</p>
<p>VERBENA</p>
<p>(evasive)</p>
<p>                        Ziggy says he'll be fine now. It was a momentary seizure <br/>                        brought about by his body acclimating...</p>
<p>OBSERVER</p>
<p>(seizing her arms)</p>
<p>                        Listen to me. He needs to be here for Donna. <br/>                        He needs to be here for himself.</p>
<p>The two stare at one another for a moment. Verbena nods her head then motions to a technician.</p>
<p>VERBENA</p>
<p>                        I don't like it, but for once you almost make sense. <br/>                        See that Dr. Blake is brought in stat for Dr. Aleesi.  Let's go, Al.</p>
<p>INT. QUANTUM LEAP HALLWAY</p>
<p>DOLLY &amp; INTERCUT</p>
<p>The two swing out the door as Al begins taking off his bolo tie.</p>
<p>OBSERVER</p>
<p>                        I've already spoken to Gooshie</p>
<p>VERBENA</p>
<p>                        Fast mover.</p>
<p>OBSERVER<br/>(with a twinkle)</p>
<p>                        So I've been told.</p>
<p>VERBENA</p>
<p>                        Has Gooshie prepped the Accelerator? It'll take some time...</p>
<p>OBSERVER</p>
<p>                        We've been on standby since Donna's contractions started.</p>
<p>VERBENA</p>
<p>                        You and Gooshie been planning this since yesterday?</p>
<p>OBSERVER</p>
<p>                        Actually...</p>
<p>VERBENA</p>
<p>                        You guys are something else.</p>
<p>OBSERVER</p>
<p>                        We were picked by the best.</p>
<p>They exit into a room with blazing lights.</p>
<p>INT. CONTROL CENTER</p>
<p>Ziggy, a blue mass of lights, hovers overhead.</p>
<p>OBSERVER</p>
<p>                        Good mornin', Ziggy.</p>
<p>ZIGGY</p>
<p>                        I was wondering when you'd show up, Admiral Calavicci.</p>
<p>OBSERVER</p>
<p>                        Everything primed?</p>
<p>ZIGGY</p>
<p>                        To 99.247 percent capacity.</p>
<p>OBSERVER</p>
<p>                        What's the E.T.A. on completion?</p>
<p>Al starts taking off his clothes and, to the amazement of Verbena, has the Fermi suit underneath. He really was ready for this. Gooshie works at the controls. Tina helps nearby.</p>
<p>ZIGGY</p>
<p>                        21 seconds.</p>
<p>VERBENA</p>
<p>                        Ziggy, what's Sam's status?</p>
<p>ZIGGY</p>
<p>                        Currently experiencing severe respiratory distress, mild dehydration, temperature 105.7...</p>
<p>OBSERVER</p>
<p>                        What are the odds for my surviving this leap?</p>
<p>Verbena, Gooshie and Tina all give him a concerned look.</p>
<p>OBSERVER<br/>(shrugs)</p>
<p>                        Call me curious.</p>
<p>ZIGGY</p>
<p>                        Admiral Calavicci has a slightly below odds chance compared to Doctor Beckett's.</p>
<p>OBSERVER</p>
<p>                        See? Don't worry.</p>
<p>VERBENA</p>
<p>                        Ziggy, what are Doctor Beckett's odds?</p>
<p>ZIGGY</p>
<p>                        42 percent.</p>
<p>OBSERVER<br/>(not phased)</p>
<p>                        So I'll be careful.</p>
<p>VERBENA<br/>(poking Al's chest)</p>
<p>                        You'll be dead.</p>
<p>OBSERVER<br/>(angry)</p>
<p>                        Better me than Sam.</p>
<p>Verbena stalks over to Tina and the two talk briefly. Tina leaves giving Al a concerned look.</p>
<p>OBSERVER<br/>(continuing)</p>
<p>                        What are you up to?</p>
<p>VERBENA</p>
<p>                        AIDS vaccine.</p>
<p>OBSERVER</p>
<p>                        It's still experimental.</p>
<p>VERBENA</p>
<p>                        Yes, and it has lousy side-effects. You have a better idea? Ziggy...?</p>
<p>ZIGGY</p>
<p>                        Odds have increased to 48.3 percent.</p>
<p>OBSERVER</p>
<p>                        Thanks, doll.</p>
<p>VERBENA<br/>(still frosty, but thawing)</p>
<p>                        Keep it professional, Admiral.</p>
<p>OBSERVER</p>
<p>                        With you, Beenie, always.</p>
<p>GOOSHIE</p>
<p>                        Ready, Al.</p>
<p>OBSERVER</p>
<p>                        Right, Gooshie. Don't get gooshie.</p>
<p>GOOSHIE<br/>(sniffing)</p>
<p>                        Me?</p>
<p>OBSERVER</p>
<p>                        Yeah, you're a barrel of laughs. Keep an eye on Sam.</p>
<p>GOOSHIE</p>
<p>                        Aye, aye, Sir.</p>
<p>Tina reenters and hands Verbena the hypo, who lifts her eyebrow as if to ask if he wants to go through with it.  Al sticks his arm out toward her.</p>
<p>OBSERVER</p>
<p>                        We're go for liftoff.</p>
<p>She injects him. Al starts, then rubs his arm.</p>
<p>OBSERVER<br/>(continuing)</p>
<p>                        Ow!</p>
<p>He stares at Verbena, outraged. Then his eyes narrow.</p>
<p>OBSERVER<br/>(continuing)</p>
<p>                        You enjoyed that, didn't you?</p>
<p>Verbena smiles sweetly, leaning closer to whisper in his ear.</p>
<p>VERBENA</p>
<p>                        Don't let them give you any hydropenthal*. It will neutralize the effect of the vaccine.</p>
<p>
  <em>[*fictional medicine]</em>
</p>
<p>Al nods then goes to Tina. He kisses her passionately.</p>
<p>TINA<br/>(emotional)</p>
<p>                        Al, come back soon. I love you.</p>
<p>OBSERVER<br/>(quietly)</p>
<p>                        But not as much as Gooshie.</p>
<p>Tina's mouth drops and her eyes blink fast. Gooshie hasn't heard.</p>
<p>TINA</p>
<p>                        How did you...? I mean...</p>
<p>OBSERVER<br/>(sadly)</p>
<p>                        It's OK, Tina. Our times together were great. I wouldn't</p>
<p>                        trade them for anything. If I don't come back...</p>
<p>(beat)</p>
<p>                        Have a terrific life, kiddo.</p>
<p>He touches her cheek gently as Verbena zips up the back of the Fermi suit. With a final look around, and a cocky salute, he faces the Accelerator entrance, takes one large breath and enters.</p>
<p>CUT TO:</p>
<p>INT. HOSPITAL BEDROOM</p>
<p>Sam, in a fitful sleep, lies prone on the bed with even more tubing and wires coming out of his body. In a chair beside the bed is the sleeping form of Rebecca.</p>
<p>LEAP IN (SFX)</p>
<p>Sam's image blurs and becomes Al. He acclimates himself to the new surroundings, blinking in momentary confusion. Suddenly his eyes squeeze shut to block out the incredible pain, then flit open cautiously.  Al cannot speak with the tube in his throat, but his eyes speak volumes.  The pain not only keeps him alert, but has prevented the 'Swiss-cheese' effect.</p>
<p>He knows exactly why he's there.</p>
<p>CUT TO:</p>
<p>INT. PROJECT QUANTUM LEAP ACCELERATOR</p>
<p>Blue lights clear to reveal an unconscious Sam.  He crumbles on the spot. Even as the last of the bolts dissipate, Verbena and her team are right there.</p>
<p>VERBENA</p>
<p>                        Sam? Sam.</p>
<p>She soothes his brow, trying to gently wake him. Sam moans then coughs violently in remembrance. His eyes open wildly and he clutches Verbena's shoulders, inhaling rapidly.  Verbena pulls him into a hug, rubbing his back to calm him.</p>
<p>VERBENA<br/>(continuing)</p>
<p>                        It's all right now. You're going to be fine.</p>
<p>Gooshie wraps an arm around Tina as the two watch the struggle. She is seeing Al's image and finds it difficult to remember it's really Sam.</p>
<p>TINA</p>
<p>                        Al?</p>
<p>Verbena waves her off.</p>
<p>VERBENA</p>
<p>                        Gooshie, get her out of here.</p>
<p>(to Sam)</p>
<p>                        Can you hear me, Sam?</p>
<p>He finds it hard to focus, but his breathing calms and he nods slightly.</p>
<p>SAM<br/>(breathless)</p>
<p>                        What...where...</p>
<p>VERBENA</p>
<p>                        Sam, look at me.</p>
<p>He struggles to get his bearings and finally gazes at the serene woman.</p>
<p>VERBENA<br/>(continuing)</p>
<p>                        You're home. You're back.</p>
<p>SAM<br/>(grabbing Verbena's shoulders)</p>
<p>                        Donna?</p>
<p>VERBENA</p>
<p>                        Do you want to see her?</p>
<p>Sam merely grins in answer.</p>
<p>CUT TO:</p>
<p>INT. PQL DELIVERY ROOM</p>
<p>Katie is helping Donna through another contraction.  The pain is excruciating, but Donna smiles gratefully at her sister-in-law.</p>
<p>DONNA<br/>(panting)</p>
<p>                        I don't think I could do this without you.</p>
<p>KATIE</p>
<p>                        You're doing fine.</p>
<p>SAM<br/>(v.o.)</p>
<p>                        Donna?</p>
<p>The two women whip their focus to the door. There, in the white Fermi suit, is Sam.</p>
<p>KATIE</p>
<p>                        It's just Al. C'mon - let's concentrate on baby Beckett here.</p>
<p>Donna grips Katie's arm. The contraction has subsided, but she stares at Sam as if deciphering his new persona.  For Sam, everyone else on the planet has disappeared.</p>
<p>DONNA<br/>(puzzled)</p>
<p>                        Sam?</p>
<p>SAM<br/>(nodding)</p>
<p>                        Donna.</p>
<p>Sam slowly walk to her. The distance from the door to the chair seems to expand and his gate is unstable, but his desire is too great for any thought but her. It's definitely a Kodak   moment. Sam and Donna embrace. Katie finally realizes.</p>
<p>KATIE<br/>(overwhelmed)</p>
<p>                        Sam.</p>
<p>Sam barely breaks away, but does momentarily to hug his sister.</p>
<p>SAM</p>
<p>                        Yup, baby sister. Boy, have I missed you - all of you.</p>
<p>(to Donna)</p>
<p>                        It's been so long.</p>
<p>Donna, laughing and crying at the same time.</p>
<p>DONNA<br/>(grabbing his hand)</p>
<p>                        Sorry, Dr. Beckett, but my dance card's kinda full right now...</p>
<p>She grits down at the pain of another contraction and Sam is suddenly aware of the drama unfolding.</p>
<p>SAM</p>
<p>                        Now? You're having a baby now?</p>
<p>TOM<br/>(O.S.)</p>
<p>                        You've been out of it for a while, little brother.</p>
<p>Sam looks up to his brother....alive...in uniform and grinning from ear to ear. Sam is open-mouthed shocked. His eyes are almost swirling trying to take in the sight of his wife, sister, brother...</p>
<p>TOM<br/>(continuing)</p>
<p>                        They told me you had leaped back. I got here in</p>
<p>                        nothing flat.  Mom's outside...</p>
<p>KATIE<br/>(interrupting)</p>
<p>                        Tom! Can't you see our resident genius is confused.</p>
<p>                        Now all of you, clear out.</p>
<p>Everyone else starts to move towards the door, but Sam's not budging. He moves forward, rubbing Donna's tummy and obviously shifting into "doctor" mode.</p>
<p>SAM</p>
<p>                        Breathe, Donna.</p>
<p>(demonstrating)</p>
<p>                        Hee-hee-hee....</p>
<p>Donna gets a death-grip on his hand and complies. As the contractions wane, she notices Katie leaning against the door jam, grinning like an idiot.</p>
<p>DONNA</p>
<p>                        Katie?</p>
<p>Katie shakes her head, though her eyes glow with the Beckett twinkle.</p>
<p>KATIE</p>
<p>                        Nope. The A-team's here now. I think we should let Dr. Beckett handle this delivery.</p>
<p>Sam is torn between wanting to agree and a sudden, severe case of nerves.</p>
<p>SAM</p>
<p>                        You sure?</p>
<p>KATIE<br/>(nodding)</p>
<p>                        Sure. You're the pro.</p>
<p>SAM<br/>(still doubtful)</p>
<p>                        But I'm really out of practice.</p>
<p>KATIE</p>
<p>                        It's like a bike; it'll come back to you. Good luck, you two. We'll be outside.</p>
<p>She shoos the stragglers out, gives a speechless Sam a gentle squeeze and a final look as the door closes.  There is no sound but the panting of Donna and the severe swallowing of a dad-to-be.</p>
<p>DONNA</p>
<p>                        You going to gawk or help?</p>
<p>SAM</p>
<p>                        Gawking sounds really good to me right now.</p>
<p>DONNA</p>
<p>                        You really are part Al.</p>
<p>SAM<br/>(teasing)</p>
<p>                        I bet you'd like to find out.</p>
<p>DONNA<br/>(pleased to one-up her husband)</p>
<p>                        Isn't that how this whole thing got started? Now birth or I'll get Katie back in here.</p>
<p><strong>MONTAGE</strong> of birth. Sam is doctor, coach, father and husband. But most of all he's excited and scared.   The baby, a son, is born to the ecstatic parents. Sam places the child in his mother's arms and kisses both. If for just a moment, Sam is home, happy, and part of a family for the first time in five years.</p>
<p>
  <strong>
    <span class="u">END ACT ONE</span>
  </strong>
</p>
  </div></div>
<a name="section0003"><h2>3. ACT 2, PART 1</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>FADE IN:</p><p>INT. QL DELIVERY ROOM - DAY</p><p>The couple are basking in this 'blessed event.'  Donna holds her precious child, while Sam beams at them both, gently stroking his child's cheek.</p><p>SAM</p><p>                        Good morning little fellow.</p><p>(beat - with a bit of panic)</p><p>                        Name. Name. He needs a name.</p><p>DONNA</p><p>                        We already named him.</p><p>Sam gives her that 'Swiss-cheesed' look.</p><p>DONNA<br/>(continuing)</p><p>                        On our honeymoon. Sunrise on the island sands.<br/>                        You said I could name the girls and you, the boys.<br/>                        We chose the names right then.</p><p>SAM</p><p>                        I don't remember.</p><p>(beat)</p><p>                        No wait. Jamaica. You wore the old cowboy hat Tom<br/>                        gave you as a wedding present...How can I remember<br/>                        that? How do I remember Tom?</p><p>(tapping his head)</p><p>                        It's like a floodgate of new memories.</p><p>Donna kisses him and when he kisses back, she giggles.</p><p>SAM</p><p>                        What?</p><p>DONNA</p><p>                        It's nothing.</p><p>She begins giggling again.</p><p>SAM</p><p>                        Tell me. You can't possibly be having mood swings now.</p><p>DONNA</p><p>                        And I suppose you know all about mood swings?</p><p>SAM<br/>(assertive)</p><p>                        Yes, I do. I was pregnant once too, y'know.</p><p>DONNA</p><p>                        Oh, yeah.</p><p>(beat)</p><p>                        It's just that - you're Al.</p><p>SAM</p><p>                        What?</p><p>DONNA</p><p>                        You've leaped into Al.</p><p>SAM</p><p>                        So?</p><p>DONNA</p><p>                        When we kiss, I tell myself it's you, but I can only see Al.</p><p>SAM<br/>(imitating Al/Groucho with a cigar)</p><p>                        Then close your  eyes, sweetheart.</p><p>They kiss again.</p><p>SAM<br/>(continuing)</p><p>                        Better?</p><p>DONNA</p><p>                        Excellent.</p><p>Sam takes the baby from her, soaking in the sight of this new creation.</p><p>SAM</p><p>                        John Albert Beckett.</p><p>DONNA</p><p>                        See you do remember sweet little John Albert Beckett.</p><p>SAM</p><p>                        Wait a second. Al. If you see Al...Oh my God! Donna! <br/>                        The baby's bonding with the image of Al!</p><p> </p><p>He gives the baby back to Donna and sits down hard.</p><p>SAM<br/>(continuing)</p><p>                        This is terrible. Baby John's going to think his dad is.. is...Al!</p><p>He is horrified at the thought. Donna laughs at her husband’s distress.</p><p>DONNA</p><p>                        Sam. Sam. Don't you remember? Children see the real you.</p><p>He brightens a bit.</p><p>DONNA<br/>(continuing)</p><p>                        Besides, I think Al would make a wonderful father.</p><p>SAM</p><p>                        Al? To Hugh Heffner, maybe.</p><p>DONNA</p><p>                        No, I'm serious, Sam. Al's been through so much, learned so much.</p><p>Sam smiles at the thought of Al with children.</p><p>SAM<br/>(in babytalk accent)</p><p>                        Well, I'll think about  letting Uncle Al practice on our<br/>                        Johnny. But if I see one bubble gum cigar...</p><p>(beat - to himself)</p><p>                        Oops - forgot about the folks. Show time, sweetheart!</p><p>He gives Donna another kiss and goes to the door to let the others in: Verbena, Tina, Katie, her husband-Jim Bonner, Tom. Gooshie's not there. Sam envelopes his mom and draws her through the throng to see her first grandchild. The proud father scoops his baby up for all to see.</p><p>SAM</p><p>                        Everybody- say 'hello' to John Albert Beckett.</p><p>THELMA-LOUISE BECKETT</p><p>                        Oh, Sam. You named him after your father.</p><p>SAM</p><p>                        And my best friend.</p><p>Sam's mom is teary-eyed.  In the background, we see Gooshie enter, smile at the scene, then bee-line to Verbena.</p><p>GOOSHIE</p><p>                        Ziggy's having a difficult time keeping a link to Al.</p><p>VERBENA</p><p>                        Are you saying we may need Sam?</p><p>GOOSHIE</p><p>                        I think so - and so does Ziggy.</p><p>Verbena sighs. She hates to break up this celebration, but...</p><p>VERBENA</p><p>                        Sam, we're having problems with the latest leap.</p><p>                        I wanted avoid this, but we need you at Central Control.</p><p>Sam nods in acknowledgment, but looks to Donna for release.</p><p>DONNA</p><p>                        Tell Al we love him.</p><p>Sam gives his new family a final kiss and heads reluctantly out the door.</p><p>CLOSE UP - DONNA &amp; BABY JOHN</p><p>DONNA<br/>(continuing)</p><p>                        And we love you, Sam.</p><p>CUT TO:</p><p>EST. SHOT - HOSPITAL - NIGHT</p><p>It's a dark and stormy....</p><p>INT. HOSPITAL  BEDROOM - NIGHT</p><p>CLOSE UP - OBSERVER</p><p>now suffering from the same symptoms as Sam: high fever, respiratory distress, etc. but also a pervading sadness and a sense of abandonment.  The last time we saw Al like this was in "M.I.A."</p><p>PULL BACK</p><p>to see that both parents are not there. The promise made by the father obviously forgotten. The loneliness we feel for him is now intensified as we see a small man in a big room - dying without a friendly face of comfort. </p><p>Suddenly there's a commotion at the door, the lights are brought up and a new patient enters with a group of techs and doctors. There are no visible laymen.  Al watches with interest, as his new roomie is gingerly set in a bed next to him. It is another child, sick and unable to support himself.</p><p>A nurse comes over to ease Al/Ray - tuck in the covers, monitor the machine, check the fluids. Dr. Saul comes over to check the chart again.</p><p>NURSE</p><p>                        Hi, Ray. Dr. Saul is here to pull the e.t. out.</p><p>Al sighs with relief.</p><p>DR. SAUL<br/>(indicating the new patient)</p><p>                       I told you he'd like that. That's your new roommate, Eric Cole. <br/>                       He has the same...sickness as you.</p><p>Al checks the kid out. Eric, open mouthed and straining for breath seems to be in the vary last stages of death. His eyes seem vacant.  Privy to this drama and in almost similar circumstances, Al should become depressed. Strangely enough, it seems to revitalize him.  He keeps his eyes on Eric as Dr. Saul takes out the endo tracheal.  Eric finally falls asleep.</p><p>DR. SAUL</p><p>                        You'll be able to talk in a little bit. Try and sleep Ray.</p><p>OBSERVER<br/>(croaking)</p><p>                        Where's..where...</p><p>DR. SAUL</p><p>                        Your folks wanted to be here.  They...</p><p>(beat)</p><p>                        they're having car problems again. Don't worry -</p><p>(pats Al's arm)</p><p>                        tomorrow for sure.</p><p> </p><p>The doctor and nurse leave. Again, for all intent and purpose, Al is alone once more. The steady beat of the heart monitors are all that can be heard. Fitfully, he tries to sleep.</p><p>DREAM SEQUENCE MONTAGE- OBSERVER'S POV</p><p>A vending machine as a hand with money inserts coins and selectscigarettes. When nothing happens, the hand begins pounding it.  We see a faint swirl and unstable picture that becomes more pronounced as the hand pounds fiercely against the unyielding machine.</p><p>ANGLE - BACK OF AL</p><p>Pounding on the machines.</p><p>DOLLY AROUND</p><p>to see a youngish Al, his face worn with several days growth, angrily punching the machine in a sterile hallway. There is a maddened look in his eyes that builds. He is obviously drunk. With each word, he slams his fists into the machine. Blood is drawn on his knuckles and there is a pronounced indentation in the metal. He doesn't feel the pain...yet. </p><p>OBSERVER</p><p>                        Damn. Damn. DAMN.</p><p>He stops momentarily, looks around, and spots a utility belt left at the bottom of a ladder. Retrieving a hammer, there's almost a maniacal smile on his lips as he begins slamming the machine with all his might.  On the fourth swing, the hammer suddenly seems glued to his shoulder.  Puzzled he looks around. There, holding the hammer-head, is a very youthful Sam</p><p>Beckett. His clothes are a cross between farm boy and late 70's city life.</p><p>SAM</p><p>                        I think you need to get some sleep.</p><p>There's a pause as Al scrutinizes this wholesomeness. He tries to jerk the hammer out of Sam's palm. Sam doesn't budge.</p><p>OBSERVER</p><p>                        And you need a good lay.</p><p>Sam slowly lowers his arm still holding the hammer head. Al's hand, still clutching the hammer handle, lowers with it. Sam refuses to be embarrassed by this line, while maintaining what he knows is right.</p><p>SAM</p><p>                        Let me drive you home Admiral Calavicci.</p><p>OBSERVER<br/> (suspicious)</p><p>                        How do you know me?</p><p>SAM</p><p>                        I followed your moonshot with the Apollo program.</p><p>OBSERVER</p><p>                        Nobody remembers those.</p><p>SAM</p><p>                        I do. I even remember the scandal that aborted flight caused.</p><p>OBSERVER<br/> (nodding)</p><p>                        The bad stuff. That's all anyone remembers.</p><p>The pain in Al's hand finally reaches Al's head. He winces, finally releasing the hammer to grab his hand tight. Sam reaches out to stop him.</p><p>SAM</p><p>                        No, don't do that. Here, give it to me.</p><p>Al angrily lurches away from him.</p><p>OBSERVER</p><p>                        Get lost. What do you know about medicine? You're a kid.</p><p>Sam takes his hand anyway, feeling around the knuckles. He talks while taking at least some of the emotional hurt away.</p><p>SAM</p><p>                        Working on my sixth doctorate. Number three was in medicine.</p><p>OBSERVER<br/> (laughs)</p><p>                        Yeah, and the Flying Nun will win an Oscar.</p><p>Al keeps laughing, until Sam hits a sore spot. He pulls the hand back protectively, Overbalanced, he falls. He's not laughing now. </p><p>SAM</p><p>                        Let me fix your hand. You've fractured the third...</p><p>OBSERVER<br/> (frustrated and rock bottom)</p><p>                        Leave me alone!</p><p>SAM</p><p>                        Why?</p><p>OBSERVER</p><p>                        I'm not worth it.</p><p>SAM</p><p>                        You are to me. To aerodynamic students who read<br/>                        your thesis. To kids who watched you survive a doomed mission.</p><p>OBSERVER</p><p>                        That's history.</p><p>SAM</p><p>                        To be remembered.</p><p>OBSERVER</p><p>                        Crap.</p><p>SAM<br/>(becoming frustrated himself)</p><p>                        No, you are if you think there's nothing more.</p><p>OBSERVER</p><p>                        You're right there.</p><p>Al puts his head down on his raised knees.  Sam sits down next to him. He starts to put a comforting hand on his shoulder, but thinks better of it, aware of how fragile this man's dignity is.</p><p>OBSERVER<br/>(continuing)</p><p>                        What's your name?</p><p>SAM</p><p>                        Sam.</p><p>OBSERVER<br/>(laughing normally)</p><p>                        Like Good Sam - those RV road saints?</p><p>SAM</p><p>                        Like Sam Beckett. Soon to be director of...</p><p>OBSERVER</p><p>                        Yes?</p><p>SAM</p><p>                        Do you still have security clearance?</p><p>OBSERVER<br/>(changing the subject)</p><p>                        I think I'll take you up on that ride Good Sam.</p><p>(beat)</p><p>                        Stick?</p><p>SAM</p><p>                        Pardon?</p><p>OBSERVER</p><p>                        Stick shift in your car?</p><p>SAM</p><p>                        Yeah.</p><p>OBSERVER</p><p>                        If you don't know how to use it, just leave me right here.</p><p>SAM<br/>(smiling)</p><p>                        No problem.</p><p>The two give each other a look - wary, but with possibilities.</p><p>OBSERVER</p><p>(shaking his head)</p><p>                        You are something else.</p><p>SAM</p><p>                        My mother's always saying so.</p><p>OBSERVER<br/>(vaguely)</p><p>                        At least you have a mother.</p><p>SAM</p><p>(puzzled)</p><p>                        Don't you?</p><p>Before Al responds, he pulls up suddenly, his face waning.</p><p>OBSERVER</p><p>                        I don't feel too good.</p><p>SAM</p><p>                        I'm not surprised.</p><p>Al gets up, or tries to. With Sam's help, he staggers toward the men's room adjacent to the vending machine. As violently ill as he is about to get, a nagging question just has to be asked.</p><p>OBSERVER</p><p>                        Why do you care?</p><p>SAM</p><p>                        Because you don't.</p><p>OBSERVER<br/>(shaking his head)</p><p>                        You are a saint.</p><p>PULL BACK</p><p>As the two enter the men's room the music comes up.  With a languishing chord, it evaporates into an echo bringing us to...</p><p>INT. HOSPITAL BEDROOM - NIGHT</p><p>The monitors overlap the music's rhythm.  Hovering over Al's form is a concerned Sam. He stands like a solitary angel waiting patiently in the dark. Al twists suddenly and his eyes blink open wildly, breathing heavy. The breathing will eventually subside, but to a small wheeze.</p><p>OBSERVER</p><p>                        Sam!</p><p>SAM</p><p>                        I'm here Al.</p><p>
  <strong> <span class="u">END ACT II, PART I</span> </strong>
</p>
  </div></div>
<a name="section0004"><h2>4. ACT 2, PART 2</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>It takes a moment before Al is finally able to focus. He smiles slightly.Of course, Sam would be there. His friend moves in closer.</p>
<p>SAM</p>
<p>                        How you feeling?</p>
<p>OBSERVER<br/>(panting)</p>
<p>                        ...Mack truck.</p>
<p>SAM<br/>(sympathetic)</p>
<p>                        I know. But just take it easy. Breathe deep.</p>
<p>Al glares at him since he obviously can't breathe deep. Sam tries another approach, trying not to smile.</p>
<p>SAM</p>
<p>                        Think of Tina.</p>
<p>OBSERVER</p>
<p>                        Forget Tina. What are you doing here? How's Donna?</p>
<p>SAM</p>
<p>                        She's doing great. I really owe you one.</p>
<p>OBSERVER</p>
<p>                        Oh, more than one.</p>
<p>(beat)</p>
<p>                        So?</p>
<p>SAM</p>
<p>(smiling)</p>
<p>                        So?</p>
<p>OBSERVER</p>
<p>                        A wise-guy, eh?</p>
<p>SAM</p>
<p>                        Nope. A beautiful nine-pound baby boy.</p>
<p>OBSERVER</p>
<p>                         Name?</p>
<p>SAM</p>
<p>                        Something totally inappropriate. John Albert Beckett.</p>
<p>OBSERVER</p>
<p>(touched but not willing to show it)</p>
<p>                        Sentimental slop.</p>
<p>SAM</p>
<p>                        No, heartfelt slop.</p>
<p>OBSERVER</p>
<p>                        People only name their kids after dead relatives, y'know.</p>
<p>SAM</p>
<p>                        You are family to us, Al. Of course, you're not dead...</p>
<p>OBSERVER<br/>(resolved)</p>
<p>                        ...yet.</p>
<p>SAM<br/>(punching the handlink)</p>
<p>                        You're not going to die, Al. Verbena told me you  took the vaccine. </p>
<p>Sam walks around checking the monitor, being both doctor and comforting friend.</p>
<p>SAM<br/>(continuing)</p>
<p>                        And all the current vitals look bad, but reversible. Bet<br/>                        you're really going to impress them in the morning...</p>
<p>OBSERVER<br/>(quietly)</p>
<p>                        Don't leave me, Sam.</p>
<p>SAM<br/>(startled, but instantly resolved)</p>
<p>                        I won't.</p>
<p>OBSERVER</p>
<p>                        John Albert. Who does he look like?</p>
<p>Sam smiles like a proud papa, eager to bend a friendly ear.</p>
<p>SAM</p>
<p>                        Me. Yep. Donna swears he has her nose, but...</p>
<p>ERIC<br/>(o.s.)</p>
<p>                        Who...who..are you?</p>
<p>Both Al and Sam turn to the voice, startled. With glazed eyes and parched lips, Eric has turned to face them. His breathing is labored. </p>
<p>SFX</p>
<p>Sam moves through Al's bed, holographically, of course.</p>
<p>SAM</p>
<p>                        Can you hear me?</p>
<p>ERIC</p>
<p>                        Yes. Are you a ghost?</p>
<p>SAM<br/>(to Al)</p>
<p>                        I thought children over five couldn't see me.</p>
<p>OBSERVER</p>
<p>                        He must be dying.</p>
<p>ERIC</p>
<p>                        Dying?</p>
<p>SAM<br/>(to Al)</p>
<p>                        What?</p>
<p>OBSERVER</p>
<p>                        Remember Maggie in Vietnam?</p>
<p>SAM<br/>(sober)</p>
<p>                        Too well.</p>
<p>OBSERVER</p>
<p>                        She saw me at the end.</p>
<p>ERIC</p>
<p>                        Am I dying?</p>
<p>SAM</p>
<p>                        What have the doctors told you?</p>
<p>ERIC</p>
<p>                        That my parents wouldn't be back. That I would have<br/>                        to be brave to get better. Then I could see them again.</p>
<p>OBSERVER<br/>(grimly)</p>
<p>                        Bastards.</p>
<p>ERIC</p>
<p>                        I don't think I'm going to get better,  though.</p>
<p>SAM</p>
<p>                        What's your name, son?</p>
<p>ERIC</p>
<p>                        Eric Cole.</p>
<p>Sam punches info on the handlink. The transmitted answers are not good.</p>
<p>SAM</p>
<p>                        Eric Cole. Six years old. HIV positive. AIDS symptoms.</p>
<p>ERIC</p>
<p>                        What's HIV?</p>
<p>SAM</p>
<p>                        Eric, did you have an accident a couple of years ago?</p>
<p>ERIC</p>
<p>                        Fell off my bike. Hurt my leg real bad. The bone stuck out and everything.</p>
<p>SAM</p>
<p>                        Did the doctors give you some blood to replace the blood you lost?</p>
<p>ERIC<br/>(nods)</p>
<p>                        Uh-huh.</p>
<p>SAM</p>
<p>                        It wasn't anybody's fault, but the blood they gave you wasn't<br/>                        so good. It had a little bug in it that makes you get sick easier<br/>                        than other people.</p>
<p>ERIC</p>
<p>                        Am I going to die?</p>
<p>SAM</p>
<p>                        Everybody dies sometime, Eric. Would it be so bad if you did? <br/>                        It's nothing to be scared of. You'll go to a place where<br/>                        there's no pain. Where you can run and play and learn. It's<br/>                        called Heaven.</p>
<p>ERIC</p>
<p>                        I'd like that, but...</p>
<p>(beat)</p>
<p>                        It's scary. I've never died before.</p>
<p>This is really tough for Sam. He tries to be positive.</p>
<p>SAM</p>
<p>                        Yeah, but you know about Disneyland, right?</p>
<p>ERIC</p>
<p>                        Of course.</p>
<p>SAM</p>
<p>                        Have you ever been there?</p>
<p>ERIC</p>
<p>                        No.</p>
<p>SAM</p>
<p>                        Would you be scared to go there?</p>
<p>ERIC</p>
<p>                        Heck, no.</p>
<p>SAM</p>
<p>                        So why be scared about going to Heaven?</p>
<p>ERIC</p>
<p>                        Oh.</p>
<p>OBSERVER<br/>(low to Sam)</p>
<p>                        How long?</p>
<p>SAM<br/>(checking)</p>
<p>                        Maybe twelve hours.</p>
<p>OBSERVER</p>
<p>                        Past even what we could give him in the future.</p>
<p>ERIC</p>
<p>                        Talk to me?</p>
<p>SAM</p>
<p>                        Sure, Eric.</p>
<p>Music comes up over the voices as we</p>
<p>SLOW CLOSE UP - OBSERVER</p>
<p>He listens to Sam and the boy chat, but his pain is expanding. He grips the bed covers.</p>
<p>CUT TO:</p>
<p>INT.  PROJECT QUANTUM LEAP - NIGHT</p>
<p>Gooshie, Tina and Verbena are at controls.</p>
<p>GOOSHIE</p>
<p>                        Something's not right.</p>
<p>VERBENA</p>
<p>                        What's Sam doing? Al's odds of surviving this leap are falling.</p>
<p>TINA</p>
<p>                        Is Al...?</p>
<p>VERBENA</p>
<p>                        Yes, and he shouldn't be. Unless...</p>
<p>GOOSHIE</p>
<p>                        We have to talk to Sam - now.</p>
<p>CUT TO:</p>
<p>INT.  HOSPITAL BEDROOM - DAWN</p>
<p>Warm flicks of light start to stream in through the curtains. Eric is enraptured with Sam's stories. Al seems to be listening, but close-up we see beads of perspiration on his forehead and his heart monitor becoming ever so slightly erratic.  Suddenly, Sam's handlink begins squawking.</p>
<p>ERIC</p>
<p>                        What's that?</p>
<p>SAM</p>
<p>                        Ever read Dick Tracy? Remember the two-way wrist<br/>                        radio? Well, this is it's - uh, big brother.</p>
<p>ERIC</p>
<p>                        Neat-o.</p>
<p>Sam bends to read the handlink screen.</p>
<p>SAM</p>
<p>                        No - can't be right.</p>
<p>He gives it a whack, but the readings don't change. He turns quickly to Al.</p>
<p>SAM<br/>(continuing)</p>
<p>                        Al. Al. You awake?</p>
<p>He bends down to peer into Al's eyes. They're vacant.</p>
<p>SAM</p>
<p>(shocked)</p>
<p>                        Al? Al!</p>
<p>(smashing the handlink)</p>
<p>                        Gooshie, what's going on?</p>
<p>INTERCUT AS NEEDED</p>
<p>GOOSHIE<br/>(to Verbena)</p>
<p>                        What should I tell him?</p>
<p>VERBENA</p>
<p>                        The truth.</p>
<p>Sam is frantic. The past couple of hours are catching up with him - emotionally drained, and at his wits end.</p>
<p>ERIC</p>
<p>                        Sam, is Al all right?</p>
<p>SAM<br/>(broken up)</p>
<p>                        He's...he's in a coma.</p>
<p>The handlink perks up again. Sam punches buttons.</p>
<p>GOOSHIE</p>
<p>                        Sam, it's time to come in. There's nothing more you can<br/>                        do for him today.</p>
<p>SAM<br/>(adamant)</p>
<p>                        No. I promised. I promised I'd stay with him.</p>
<p> </p>
<p>VERBENA</p>
<p>                        You also made a promise to your family.</p>
<p>There's an extended beat with Sam paused to look over the body of a small boy - the aura containing his friend.</p>
<p>SAM</p>
<p>                        Oh, Al.</p>
<p>Resolved, he turns to Eric.</p>
<p>SAM<br/>(torn)</p>
<p>                        I'll be back soon, Eric. But I have to go now.</p>
<p>ERIC</p>
<p>                        I know. Like my parents.</p>
<p>SAM</p>
<p>                        I don't want to go, but my own little boy needs me right now.</p>
<p> </p>
<p>ERIC</p>
<p>                        You have a little boy?</p>
<p> </p>
<p>SAM</p>
<p>                        Yes. And I hope when he's your age, he has your courage.</p>
<p>ERIC<br/>(with much effort, smiling)</p>
<p>                        Thanks, Sam. I'm not scared now.</p>
<p>Sam nods emotionally, then looks over at Al.</p>
<p>SAM</p>
<p>                        I'll get you through this, Al. I swear.</p>
<p>He quickly ducks through the I.C. door.</p>
<p>SLOW FADE</p>
<p>off Al.</p>
<p>
  <strong>
    <span class="u">END ACT II</span>
  </strong>
</p>
  </div></div>
<a name="section0005"><h2>5. ACT 3, PART 1</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>INT. QL RECOVERY ROOM - DAY</p>
<p>Donna sleeps with one hand in the crib where John naps.</p>
<p>PULL-BACK</p>
<p>to see Sam standing in the doorway. Watching. Waiting. Verbena comes up behind him.</p>
<p>SAM<br/>(wearily)</p>
<p>                        I don't know how Al did it all these years.</p>
<p>VERBENA</p>
<p>                        What's that?</p>
<p>SAM</p>
<p>                        Wait. The endless waiting while I was in some life-threatening peril.</p>
<p>VERBENA<br/>(surprised)</p>
<p>                        This from a man who's known him for years?</p>
<p>SAM</p>
<p>                        But they were years in research. Or business trips.<br/>                        It wasn't until I leaped that I really discovered who he<br/>                        was. Where he came from.</p>
<p>VERBENA</p>
<p>                        And now you're worried about losing him?</p>
<p>SAM</p>
<p>                        Me? Worried?</p>
<p>Verbena puts a comforting hand on his shoulder and a squeeze. A small cry emits from the crib. Sam looks expectantly over.</p>
<p>VERBENA</p>
<p>                        Doctor Beckett, worrying's my department.<br/>                        Enjoy your family. We'll alert you if...the situation changes.</p>
<p>SAM</p>
<p>                        Promise?</p>
<p>VERBENA<br/>(nodding and holding up Girl Scout salute)</p>
<p>                        Promise.</p>
<p>Verbena leaves and Sam quietly picks up his son, rocking him gently. Donna wakes up with a start. Even after giving birth, Donna is a marvel of beauty.</p>
<p>SAM</p>
<p>                        It's all right, Honey. He just needed a hug.</p>
<p>DONNA</p>
<p>                        So do I.</p>
<p>SAM</p>
<p>                        Sorry, fresh out of hugs. Will a kiss do?</p>
<p>DONNA</p>
<p>                        Oh, I suppose I could settle for one.</p>
<p>He sits on the edge of the bed, and gives her a good morning wake-up smooch. John gets deposited into the bed. Sam idly toys with her hair.</p>
<p>DONNA<br/>(knowingly)</p>
<p>                        You're worried about Al.</p>
<p>SAM</p>
<p>                        What is this? A female conspiracy? How can you tell?</p>
<p>DONNA</p>
<p>                        I've known you longer than Al has.  What's his condition?</p>
<p>SAM</p>
<p>                        He's...he's in a coma.</p>
<p>DONNA<br/>(upset)</p>
<p>                        What does Ziggy say his chances are for pulling through?</p>
<p>SAM<br/>(embarrassed)</p>
<p>                        I haven't...I couldn't...</p>
<p>Donna grabs his wrist band link, pushes buttons.</p>
<p>DONNA</p>
<p>                        Ziggy?</p>
<p>ZIGGY</p>
<p>                        Admiral Calivicci's has a 23 percent survival ratio.</p>
<p>Sam turns away so Donna won't see his distress.</p>
<p>DONNA</p>
<p>                        Sam, you've pulled through worse.</p>
<p>SAM</p>
<p>                        I have. Not Al. He's so vulnerable.</p>
<p>Sam gets up and paces, then finally opens up in a way we've never seen.</p>
<p>SAM</p>
<p>                        Donna,  I don't think I can do it all. You. The baby. Al.<br/>                        The Project. Tom. Katie. Mom. It's too much.</p>
<p>DONNA<br/>(soothing)</p>
<p>                        And no one expects you to do it all, Sam. Remember,<br/>                        you almost died back there yourself.</p>
<p>SAM</p>
<p>                        I worry because I do remember. I know what he's going through.</p>
<p>DONNA</p>
<p>                        Just do what you can. God won't give you anything<br/>                        you can't handle. I promise.</p>
<p>She hugs him tight, but it is short-lived when Tina shows up at the door. It takes a moment for Tina to compose herself. It appears to Tina like Al is being love-hugged by Donna.</p>
<p>TINA</p>
<p>                        Doctor Beckett. Excuse me, but Doctor Beeks says it's urgent.</p>
<p>She said to say it's a 'good urgent.'</p>
<p>DONNA</p>
<p>                        Told you.</p>
<p>SAM<br/>(to Donna)</p>
<p>                        I'll be back.</p>
<p>DONNA</p>
<p>                        I know.</p>
<p>Sam dashes out the door followed by Tina.</p>
<p>INT. CONTROL ROOM</p>
<p>Verbena, Gooshie and some other techs work frantically over computers and printouts.</p>
<p>GOOSHIE</p>
<p>                        Good. Sam, we have the latest information.</p>
<p>(pauses dramatically)</p>
<p>                        Al's out of the coma.</p>
<p>VERBENA</p>
<p>                        Looks like the vaccine kicked in.</p>
<p>Sam 'whoops' it up hugging everyone around.</p>
<p>GOOSHIE</p>
<p>                        Oh, and here. We knew you wouldn't have time to get 'em.</p>
<p>He hands Sam a cigar that reads, "Oh, boy. It's a Boy!"</p>
<p>SAM<br/>(hugging Gooshie)</p>
<p>                        I know who got these, but how did he...?</p>
<p>GOOSHIE</p>
<p>                        Ultra-sound. Al was the only one besides Verbena<br/>                        who knew it was going to be a boy. Donna asked<br/>                        them not to tell her.  They wouldn't even tell me!</p>
<p>SAM</p>
<p>                        That little devil.</p>
<p>VERBENA</p>
<p>                        We need you to check on him again.</p>
<p>Sam nods, grabs a handlink and darts for the Imaging Chamber. He turns briefly at the entrance.</p>
<p>SAM</p>
<p>                        Thanks.</p>
<p>CUT TO:</p>
<p>INT. HOSPITAL ROOM - MORNING</p>
<p>It's an overcast morning. Al is the same as Sam left him, except his eyes blink and stare at a vacant bed - where Eric use to be. It's stripped, but not remade. Sam enters through the door, excited and smiling. He thrilled to see Al alive even though he does not look better. Following Al's gaze, he sees the bed and makes a connection.</p>
<p>SAM</p>
<p>                        When? When did he die?</p>
<p>OBSERVER</p>
<p>                        He didn't.</p>
<p>SAM</p>
<p>                        What?</p>
<p>OBSERVER</p>
<p>                        His parents finally showed up. Took him away.</p>
<p>SAM</p>
<p>                        That's great.</p>
<p>OBSERVER</p>
<p>                        I made him call them. We talked.</p>
<p>SAM</p>
<p>                        You and Eric?</p>
<p>OBSERVER</p>
<p>                        It was raining early this morning when I woke up -<br/>                        realized where I was. Eric had been talking to<br/>                        me for hours.  Everything from basketball to rainbows.</p>
<p>SAM</p>
<p>                        Rainbows?</p>
<p>OBSERVER</p>
<p>                        He wanted to know, scientifically of course, if rainbows<br/>                        were reflections of light on water, how come we couldn't<br/>                        see them when we cried?</p>
<p>(beat)</p>
<p>                        They came and...he told them an angel said he was going<br/>                        to Heaven.  Told them he wasn't scared any more.  You<br/>                        did a wonderful thing for that boy, Sam.</p>
<p>Sam is at a loss, but content. He checks the handlink.</p>
<p>SAM</p>
<p>                        So did you.</p>
<p>(looking at handlink)</p>
<p>                        Says he died at 3 PM February 21, 1984.</p>
<p>OBSERVER</p>
<p>                        In one hour.</p>
<p>SAM</p>
<p>                        At least he doesn't die alone.</p>
<p>(pause)</p>
<p>                        I'm sorry I wasn't here when you woke up.</p>
<p>OBSERVER<br/>(shirks him off)</p>
<p>                        How is the little guy?</p>
<p>SAM</p>
<p>                        Sleeping. Adorable.</p>
<p>OBSERVER<br/>(disgusted)</p>
<p>                        A Beckett.</p>
<p>SAM</p>
<p>                        Donna sends her love. We all do.</p>
<p>OBSERVER</p>
<p>                        Enough. I'll O.D. on mush before the disease gets me.</p>
<p>SAM</p>
<p>                        Oh, you won't get it. Verbena says the vaccine...</p>
<p>OBSERVER</p>
<p>                        Is neutralized.</p>
<p>SAM<br/>(panicked)</p>
<p>                        What?</p>
<p>Sam looks at the chart and punching the handlink.</p>
<p>SAM<br/>(continuing)</p>
<p>                        Why didn't' you stop them?!</p>
<p>OBSERVER</p>
<p>                        I was out of it, if you recall. Besides, if it's my time...</p>
<p>SAM<br/>(guilty and frantic)</p>
<p>                        It's not. Ziggy, we need a solution here.</p>
<p>OBSERVER</p>
<p>                        Sam,  calm down.</p>
<p>Sam's edge is stifled momentarily. Al calming him down?</p>
<p>OBSERVER<br/>(continuing)</p>
<p>                        After talking with Eric, after listening to you, I've made<br/>                        my peace with God. What ever happens, it's OK.</p>
<p>SAM<br/>(serious as a heart attack)</p>
<p>                        If God takes you - it won't be OK with me. I'll be back. Don't move.</p>
<p>Al starts laughing at this. Sam goes through the door. Once he's through, Al's labored breathing takes over. The vaccine is not working; in fact, his condition is getting worse.</p>
<p>INT. CONTROL ROOM</p>
<p>As Sam explodes from the Imaging Chamber, he's intercepted by Verbena. The Control Room is filled with a busy mix of military and scientific personnel.</p>
<p>VERBENA</p>
<p>                        What's happening? Ziggy says Al's odds have dropped to almost nothing.</p>
<p>SAM</p>
<p>                        They gave him hydropenthal. He doesn't care if he lives or dies.</p>
<p>TINA</p>
<p>                        It's all my fault.</p>
<p>SAM<br/>(with a take charge attitude)</p>
<p>                        It's nobody's fault. He expects to die. And if he thinks this<br/>                        is the way it's supposed to be, he's got another thing<br/>                        coming.  Gooshie, Tina keep monitoring him. On second<br/>                        thought, you two stay away from each other. Tina go<br/>                        relieve Brenda in the Waiting Room. Verbena, we<br/>                        have some work to do.</p>
<p>INT. QUANTUM LEAP OFFICE</p>
<p>Sam and Verbena are rifling through papers.</p>
<p>SAM</p>
<p>                        You're sure the files are current?</p>
<p>VERBENA</p>
<p>                        Positive. Here it is.</p>
<p>SAM<br/>(reading)</p>
<p>                        Theresa. Have you done the follow-up interview?</p>
<p>VERBENA</p>
<p>                        My team's current with all former Leapers.</p>
<p>SAM</p>
<p>                        Contact her. Explain the situation. Says here she's still<br/>                        in Arizona. That's close by. I want a helicopter ready<br/>                        for transport. In the meantime, what's been done with Ray,<br/>                        the boy Al leaped into?</p>
<p>VERBENA</p>
<p>                        With no symptoms, we were reluctant to start treatment.</p>
<p>SAM</p>
<p>                        Start it now. There's a 24 hour period he should be<br/>                        watched during incubation, and Al doesn't have much time.</p>
<p>VERBENA</p>
<p>                        We're leaping Ray back?</p>
<p>SAM</p>
<p>                        We've done pinpoint leaping before. I need him<br/>                        ready for it. Has anybody talked to him about where he is?</p>
<p>VERBENA</p>
<p>                        Just the standard speech.</p>
<p>SAM</p>
<p>                        I'll need to talk to him. He should be prepped for<br/>                       what might happen. I want to make sure it's OK first.</p>
<p>VERBENA</p>
<p>                        But he's just a child.</p>
<p>SAM</p>
<p>                        Don't you know? Dying children are the oldest souls<br/>                        on Earth.  If you need me, I'll be stopping by the<br/>                        nursery before seeing Ray.</p>
<p>He gets up and dashes out leaving Verbena with an important phone call.</p>
<p>INT.  NURSERY (redressed delivery room)</p>
<p>Sam has paused a moment in front of his child's crib. A smile comes to his</p>
<p>lips. From behind him, Donna wraps her arms around his waist.</p>
<p>SAM<br/>(teasing)</p>
<p>                        Is that you, Doctor Beeks?</p>
<p>DONNA<br/>(nuzzling Sam's neck)</p>
<p>                        No - Gooshie.</p>
<p>SAM<br/>(chuckles and turns into her embrace)</p>
<p>                        Donna, I can't stay. But...</p>
<p>He sighs heavily.</p>
<p>DONNA</p>
<p>                        Verbena explained it all. You know we'll be here for you.</p>
<p>SAM</p>
<p>                        And Al calls me a 'saint.'</p>
<p>DONNA<br/>(cartoon voice)</p>
<p>                        He don't know you very well, do he?</p>
<p>Sam hugs her even tighter.</p>
<p>SAM</p>
<p>                        You fill me up, Donna. This poor scientist starved for affection.</p>
<p>(beat)</p>
<p>                        If this works, I may be out of here in less than a day.</p>
<p>He kisses her like he'll never see her again.</p>
<p>DONNA</p>
<p>                        Please! Not in front of the children.</p>
<p>SAM<br/>(laughing)</p>
<p>                        I won't tell his parents if you won't.</p>
<p>DONNA</p>
<p>                        Deal, Big Daddy.</p>
<p>A final moment and he reluctantly releases her.</p>
<p>CUT TO</p>
<p>INT. WAITING ROOM</p>
<p>Tina is playing a game of checkers with Ray who is dressed in the white Fermi suit. He is alive - laughing, moving.  Sam enters cautiously.</p>
<p>SAM</p>
<p>                        Hi, Tina. Hi, Ray.</p>
<p>Ray gives Sam a off-handed wave.</p>
<p>RAY</p>
<p>                        Just a sec. I've almost got her.</p>
<p>TINA</p>
<p>                        For the third time.</p>
<p>SAM</p>
<p>                        Tina, has he seen himself?</p>
<p>Tina shakes her head 'no.' Ray leaps his checker over several pieces landing in the king spot.</p>
<p>RAY</p>
<p>                        Got 'cha.</p>
<p>(seeing Sam)</p>
<p>                        Who are you?</p>
<p>(before Sam can answer)</p>
<p>                        Forget it. No one answers that question.</p>
<p>SAM</p>
<p>                        Tina, could you step outside for a moment?</p>
<p>Tina does and Sam sits close to his doppelgänger.</p>
<p>SAM</p>
<p>                        Ray, do you know where you are?</p>
<p>RAY</p>
<p>                        Heaven?</p>
<p>SAM</p>
<p>                        Let me show you something. And you don't have to</p>
<p>                        be afraid. Do you trust me?</p>
<p>RAY</p>
<p>                        Sure. You guys made me better.</p>
<p>He leads the boy to a mirror. </p>
<p>CLOSE UP</p>
<p>Mirror effect of Sam and Ray looking into the mirror. Reflected is the images of Al (the aura around Sam) and Sam (the aura around Ray). Sam's image gets slightly frightened.</p>
<p>SAM</p>
<p>                        Kind of funny, huh?</p>
<p>RAY</p>
<p>                        What's happening? Is this like re-carnation?</p>
<p>They sit back down.</p>
<p>SAM</p>
<p>                        Your body got very sick and a special man, who looks<br/>                        like me, has taken your place in the hospital.</p>
<p>RAY</p>
<p>                        I don't want to go back.</p>
<p>SAM</p>
<p>                        What if we made you better before you went back?</p>
<p>RAY</p>
<p>                        That would be OK. Will it hurt?</p>
<p>SAM</p>
<p>                        Naw. Just one hypo...</p>
<p>RAY</p>
<p>                        Like "Star Trek"?</p>
<p>SAM</p>
<p>                        Exactly like "Trek".</p>
<p>RAY</p>
<p>                        Awesome!</p>
<p>Suddenly, a leap effect starts taking place, surrounding both the boy and Sam. Sam is on his feet immediately, holding his head, screaming in realization. His every fiber fights the effects.</p>
<p>SAM</p>
<p>                         NO!!</p>
<p>
  <strong>
    <span class="u">ACT III, PART I</span>
  </strong>
</p>
  </div></div>
<a name="section0006"><h2>6. ACT 3, PART 2</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>When the blue glow washes out, both Ray and Sam are unconscious. Sam's scream brings several techs and Tina bashing in.  She bends down to check for a pulse, then turns to a techie.</p>
<p>TINA</p>
<p>                        Notify team seven...</p>
<p>As quickly as the emergency came, it goes.  Sam and Ray awaken. Groggy, Sam runs to the mirror quickly. Al's reflection beams back.</p>
<p>SAM<br/>(jazzed)</p>
<p>                        I'm not going to let you go yet, Admiral.</p>
<p>TINA</p>
<p>                        Doctor Beckett?</p>
<p>SAM</p>
<p>                        I'm OK, Tina.  Ray, you all right?</p>
<p>RAY<br/>(awestruck)</p>
<p>                        Wow! Was that a transporter beam?</p>
<p>Sam ruffles the kid's hair. The boy gets up slightly shaken.</p>
<p>SAM</p>
<p>                        Ray's OK. and, most important, Al's OK. Tell Verbena<br/>                        to get crackin' on Ray's treatment.  I'll be in the Imaging<br/>                        Chamber.  And I want to be notified when the 'copter lands.</p>
<p>TINA</p>
<p>                        'Copter?</p>
<p>Sam dashes out.</p>
<p>CUT TO:</p>
<p>INT. HOSPITAL - DAY</p>
<p>It's sprinkling outside as we</p>
<p>PULL BACK</p>
<p>from the window to see Sam enter. Al's in the worst shape ever. Nurses are putting away the heart-stimulator, a tube has been re-inserted into his throat to breath; he basically looks like death warmed over.  Sam waits until the nurses leave, kneels eye level with Al, and urges him awake.</p>
<p>SAM</p>
<p>                        Al. You weasel. Thought you'd slip out the back door?<br/>                        You thought wrong.</p>
<p>Al's eyes open very slowly. There is barely a breath keeping him conscious.</p>
<p>SAM<br/>(continuing)</p>
<p>                        You think my little Johnny is going to live without having an<br/>                        Uncle like you? I need you Al. I need you to be there for<br/>                        my family. Tina needs you, too.</p>
<p>Al's eyes roll.</p>
<p>SAM<br/>(continuing)</p>
<p>                        Yeah, I know.  Ziggy told me a long time ago about<br/>                        Tina's affair with Gooshie. But it's been over for so long.<br/>                        This has really hit her hard.</p>
<p>(beat)</p>
<p>                        The kid in the waiting room's a kick. Verbena's got him<br/>                        started on the treatment. It should only be a few<br/>                        more hours, Al.  Ziggy says that's the only reason you<br/>                        haven't leaped yet. And get this, the real reason you<br/>                        were here, wasn't for Ray's parents, but Eric and his<br/>                        parents.  It's a shame about Ray's parents. Merl and<br/>                        Rebecca Kaufman. What a pair. They left the poor<br/>                        kid to die alone. Seems they really did have car<br/>                        problems, but between Ray's condition and the fact that<br/>                        their marriage was only hinged on parental responsibilities,<br/>                        they finally exploded into a knock out, drag out. They file<br/>                        for divorce a week after the funeral.</p>
<p>Sam is uncomfortable with that last word, but kneels close to Al.</p>
<p>SAM</p>
<p>                        I'm not leaving, Al. Not until you're better. And I know<br/>                       He'll give me that.</p>
<p>FADE OUT/IN:</p>
<p>CLOSE-UP OBSERVER'S PROFILE</p>
<p>A bit of time has elapsed. Sam is on the other side. Watching.  With a start, Sam's head turns at the sound of the Imaging Chamber door opening. We cannot see her, but Sam does. He smiles at this invisible woman.</p>
<p>SAM</p>
<p>                        Look at you.  You're all grown up. Have they briefed you?</p>
<p>(beat)</p>
<p>                        It's bad. Here, take my hand.</p>
<p>She does and materializes next to Sam. She is a beautiful, 23-ish woman with long dark brown hair and flawless features. She is self-assured, bubbly though talks a little too much.</p>
<p>THERESA</p>
<p>                        Can he see and hear me?</p>
<p>SAM</p>
<p>                        He can now.</p>
<p>She sees Al's condition and tries to be brave. She bends close to the bed trying to catch his eyes. Al sees her and squints. He has no idea who this is.</p>
<p>THERESA</p>
<p>                        It's been a while, for me anyway. I haven't seen<br/>                        you in almost eighteen years. You haven't changed,<br/>                        except...well, you don't look so hot.</p>
<p>Al blinks a confused look from the woman to Sam trying to get an answer.</p>
<p>SAM</p>
<p>                        Remember when I leaped into a single mother with <br/>                        three kids? This is Theresa. The one who could see you...</p>
<p>THERESA</p>
<p>                        You were my Angel Al.</p>
<p>(beat)</p>
<p>                        Sometimes I used to pray that you'd come back.<br/>                        And then I forgot you - until a couple of years ago,<br/>                        when someone from this building called and asked<br/>                        some questions. It all came back to me. And I knew<br/>                        what had happened. I realize now what you both<br/>                        did for me and my family. My mother sends her love.<br/>                        I'll never forget how you sang me to sleep. My baby<br/>                        - oh, I have a little girl who's two -it's her favorite song.<br/>                       Every night,  she wants to hear the story about Mama<br/>                       and the Angel.</p>
<p>THERESA<br/>(continuing - singing)</p>
<p>                        Inch worm. Inch worm. Measuring the marigolds.</p>
<p>(embarrassed)</p>
<p>                        She loves it.</p>
<p>There's a shared quiet moment until both Sam and Theresa start to flicker. Sam smacks the handlink.</p>
<p>SAM</p>
<p>                        We're almost out of energy. I'm going to have to let Theresa go.</p>
<p>Al nods in understanding.</p>
<p>THERESA</p>
<p>                        Get better, Al. I want you to meet my daughter.</p>
<p> </p>
<p>Al barely nods an affirmative then she disappears.</p>
<p>SAM</p>
<p>                        I thought it was important for you to see her. After all,<br/>                       you did promise to see her later sometime. </p>
<p>(beat)</p>
<p>                        How do you feel?</p>
<p>Al acts like he's giving himself an internal diagnostic.  He frowns and tries to speak. It's mostly lost behind the tubes.</p>
<p>OBSERVER</p>
<p>                        *Great.*</p>
<p>SAM</p>
<p>                        Al. You said something!  Wait! Don't do that!</p>
<p>Al pulls the tubing out of his mouth, gagging slightly. His energy seems to be returning. His eyes loose that glazed over look and his speech gradually improves.</p>
<p>OBSERVER</p>
<p>                        I don't know what's going on here, but  I feel fine. Little woozy, but fine.</p>
<p>SAM</p>
<p>                        Because of Theresa?</p>
<p>OBSERVER</p>
<p>                        Doesn't she look great? And she has a kid, too.</p>
<p>SAM</p>
<p>                        Al. Something's going on. Something a little hinky.</p>
<p>(beat - then hits handlink. A piece actually flies off.)</p>
<p>                        What the... I've killed the handlink. Al, I have to go back.<br/>                        I need to find out what's going on.</p>
<p>OBSERVER</p>
<p>                        Killed it? You demolished it.</p>
<p>SAM</p>
<p>                        I'll be right back. You going to be OK?</p>
<p>OBSERVER</p>
<p>                        Never better. I could use a cigar...</p>
<p>SAM<br/>(glaring like old times)</p>
<p>                        Too much.</p>
<p>He punches the handlink and steps through opening door.</p>
<p>SAM<br/>(continuing)</p>
<p>                        And behave yourself, or Dr. Saul's going to put that tube back in.</p>
<p>OBSERVER</p>
<p>                        He can try...</p>
<p>Al's obviously in full mode.</p>
<p>CUT TO:</p>
<p>INT. CONTROL CENTER</p>
<p>Sam dashes in, throwing the handlink at Gooshie. In rushed speech pattern - like someone with a billion things needing to be done and trying to do it in three minutes - he grills his team.</p>
<p>SAM</p>
<p>                        Gooshie, here's the handlink. Give it a decent burial. <br/>                        How's my wife? How's Johnny? Tina? Where's Tina?</p>
<p>VERBENA</p>
<p>                        Everyone's fine. Tina's off at her cubicle crying. But<br/>                        Dr. Beckett, we've go more important concerns.</p>
<p>SAM<br/>(second guessing)</p>
<p>                        Ray?</p>
<p>Before she can answer, he's through the door down to the hall to the Waiting Room.</p>
<p>CUT TO:</p>
<p>INT. WAITING ROOM</p>
<p>There on a gurney is Ray - surrounded by techs and completely hooked up to life support.</p>
<p>SAM<br/>(shocked)</p>
<p>                        Ray!</p>
<p>
  <strong>
    <span class="u">END ACT III, PART II</span>
  </strong>
</p>
  </div></div>
<a name="section0007"><h2>7. ACT 4</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>INT. WAITING ROOM</p>
<p>The area is buzzing and Sam, realizing he can't help, pulls back out of the room into the hallway.  He slips to the floor - not unlike the way a drunk Al did many years prior. Dr. Beeks races up. She sits next to him.</p>
<p>VERBENA<br/>(panting)</p>
<p>                        No wonder you're the Future Boy.  Who could<br/>                        keep up with your flying around?</p>
<p>SAM</p>
<p>                        What's happening? Does Ziggy have any theories?</p>
<p>VERBENA</p>
<p>                        As I tried to explain...</p>
<p>SAM</p>
<p>                        Sorry.</p>
<p>VERBENA</p>
<p>                        Look, Al's going to get better. Gooshie and the<br/>                        other's are fine-tuning the pinpoint leap. But we can't<br/>                        do it for another 30 minutes.</p>
<p>SAM</p>
<p>                        Ray could die in that time.</p>
<p>VERBENA</p>
<p>                        We're doing everything we can. Our specialist says<br/>                        Ray's having a reaction to the medication. It'll take another<br/>                        thirty minutes before he's stabilized for transport to the<br/>                        Accelerator.</p>
<p>SAM</p>
<p>                        And I told him it would be all right.</p>
<p>VERBENA</p>
<p>                        Sam, this is common. Mortality is only 13%.</p>
<p>She pulls his hand to her.</p>
<p>VERBENA <br/>(continuing)</p>
<p>                        You've done everything you possible can. Don't beat<br/>                        yourself up like this.</p>
<p>SAM</p>
<p>                        I can't help it. I see Ray and I think of my how I would<br/>                        feel if that was my own little boy. And then I think of Ray's<br/>                        parents and Eric and Eric's parents. How could someone<br/>                        possibly leave a child to die alone?</p>
<p>Sam is working himself into a state. He can barely manage all that's happened in so short a time.</p>
<p>VERBENA</p>
<p>                        Let me take you to see Donna.</p>
<p>Sam recomposes himself.</p>
<p>SAM</p>
<p>                        No. I have to go back to Al.</p>
<p>VERBENA</p>
<p>                        But...</p>
<p>SAM</p>
<p>                        What are Ray's chances of being cured of AIDS once he goes back?</p>
<p>VERBENA</p>
<p>                        Ziggy calculates it at fifty-fifty.</p>
<p>SAM</p>
<p>                        Then I need to make sure Ray's parents are there.</p>
<p>He get's up - determined - and makes his way back to the Imaging Chamber.</p>
<p>CUT TO:</p>
<p>INT. HOSPITAL ROOM</p>
<p>ANGLE ON SAM</p>
<p>as he steps through the door, punching on the handlink. He looks up and bursts into a smile.</p>
<p>ANGLE ON OBSERVER</p>
<p>who is resting in the voluptuous bosom of Rebecca Kaufman.  It's a pervert's paradise.</p>
<p>REBECCA</p>
<p>                        ..so when we got a ride with this couple and realized their son had AIDS, too...</p>
<p>(quietly)</p>
<p>                        Their son had just died. Well,  your father and I, we weren't getting along and...</p>
<p>MERL</p>
<p>                        Rebecca. Enough. Can't you see the boy's tired?</p>
<p>SAM</p>
<p>                        No - that boy is definitely not tired.</p>
<p>MERL</p>
<p>                        Let him rest. We'll be back son. We need to call a tow truck.</p>
<p>The parents leave, the mother blowing a kiss, the father still stern.</p>
<p>OBSERVER</p>
<p>                        Hiya, Sammy.</p>
<p>SAM</p>
<p>                        Hi, yourself. You look mighty happy.</p>
<p>OBSERVER</p>
<p>                        Feel great. So give me the low down.</p>
<p>SAM</p>
<p>                        Still checking.</p>
<p>OBSERVER</p>
<p>                        No, no. You're supposed to say, "You did it, Al.<br/>                        Everything's great. Everybody lives happily ever after."</p>
<p>SAM</p>
<p>                        We're not through this yet, pal.  Ray..</p>
<p>OBSERVER</p>
<p>                        The boy I leaped into...</p>
<p>SAM</p>
<p>                        ,,,is having a severe reaction to the AIDS treatment.</p>
<p>OBSERVER</p>
<p>                        But, I thought...</p>
<p>SAM</p>
<p>                        As soon as we started treatment, the symptoms returned.</p>
<p>OBSERVER</p>
<p>                        And I got better.  Makes sense. Is he going to be OK?</p>
<p> </p>
<p>SAM</p>
<p>                        We'll know in a few minutes. I came to warn you. We're</p>
<p>                        doing a pinpoint leap.</p>
<p> </p>
<p>OBSERVER</p>
<p>                        Like when we leaped my young alter ego?</p>
<p>SAM</p>
<p>                        Yeah. Only this time, we don't know where everyone's<br/>                        going to end up. Because there have been so many<br/>                        successive leaps, we may have to do it several times<br/>                        before we get it right. And who knows how accurate we'll be?</p>
<p>OBSERVER</p>
<p>                        Great. Now you're saying I may continue leaping while you<br/>                        get to stay home?</p>
<p>SAM</p>
<p>                        I think it's high time, don't you.</p>
<p>OBSERVER</p>
<p>                        No. I need my cigars. I need my women. I need...</p>
<p>Sam shakes his head. It's the same ol' Al.</p>
<p>SAM</p>
<p>                        You need to get a grip.</p>
<p>(to someone O.S.)</p>
<p>                        What?</p>
<p>(nods)</p>
<p>                        Right.</p>
<p>(to Al)</p>
<p>                        They're ready. What's...what's the matter?</p>
<p>Al beckons Sam over near him and passes a hand slowly through Sam's shoulder.</p>
<p>OBSERVER</p>
<p>                        It seems we're always on the wrong end of these leaps.<br/>                        I hope this one does it.</p>
<p>SAM</p>
<p>                        So do I, Al.</p>
<p>He tweaks the handlink.</p>
<p>SAM<br/>(continuing)</p>
<p>                        Gooshie, start the leap.</p>
<p>The two friends give each other a good-bye wave and they're encased in blue. The little boy, Ray, is now in the bed where Al was. He looks tired, but seems to be getting better. His parents come in at that moment.</p>
<p>REBECCA</p>
<p>                        Sorry we took so long, Honey. We...</p>
<p>RAY</p>
<p>                        Mom. Dad. I'm back. I'm back.</p>
<p>MERL</p>
<p>                        Back from where, Son?</p>
<p>RAY</p>
<p>                        Didn't you know I was gone?</p>
<p>REBECCA</p>
<p>                        Gone? Gone where?</p>
<p>RAY</p>
<p>                        I got beamed.</p>
<p>MERL</p>
<p>                        Beamed?</p>
<p>RAY</p>
<p>                        You know. Like in "Star Trek."</p>
<p>MERL</p>
<p>                        Get Dr. Saul. I think he's delirious.</p>
<p>RAY</p>
<p>                        No, no. That's OK.</p>
<p>(to himself)</p>
<p>                        They told me it would be like this.</p>
<p>He shakes his head as his mother sits near him and maternally thrusts his head close to her chest.</p>
<p>CUT TO:</p>
<p>INT. IMAGING CHAMBER</p>
<p>The blue cocoon melts away and Al is left standing with the handlink in the middle of the room.</p>
<p>OBSERVER<br/>(shaking his head)</p>
<p>                        Definitely an E ticket.</p>
<p>Through the tunnel, he can see Tina running towards him.</p>
<p>TINA</p>
<p>                        Oh, Al. You're back.</p>
<p>She grabs and kisses him passionately.</p>
<p>TINA<br/>(continuing)</p>
<p>                        You are Al, aren't you?</p>
<p>OBSERVER</p>
<p>                        Can't you tell?</p>
<p>TINA</p>
<p>                        Well, last time, it was Doctor Beckett and he kissed<br/>                        me just like...</p>
<p>She trails off and kisses him again.</p>
<p>TINA<br/>(certain)</p>
<p>                        It is you. Don't ever go away again.</p>
<p>OBSERVER</p>
<p>                        Not if I can help it.</p>
<p>Their tete-a-tete is suddenly interrupted by the babbling handlink.</p>
<p>OBSERVER</p>
<p>                        What is it, Ziggy?</p>
<p>ZIGGY</p>
<p>                        You are needed immediately at the Waiting Room, Admiral.</p>
<p>OBSERVER</p>
<p>                        Oh, God. Sam.</p>
<p>He sprints out the tunnel with Tina trailing behind.</p>
<p>CUT TO:</p>
<p>INT. HALLWAY</p>
<p>in front of the Waiting Room.  Al, panting, stops short. He's excited and scared of what awaits beyond the door. Tina comes up behind him.</p>
<p>TINA<br/>(whispering)</p>
<p>                        Go on.</p>
<p>OBSERVER</p>
<p>                        But if it's not...</p>
<p>He clears his throat and straightens up.</p>
<p>CLOSE UP ON OBSERVER'S HAND</p>
<p>as it slowly rests on the palm reader.</p>
<p>CONTINUOUS SHOT</p>
<p>pulling up and focus to see Sam Beckett in the arms of his crying wife. They kiss and stroke each other's hair - while some techies, Verbena and Gooshie attempt non-interference.</p>
<p>SLOW MO - MUSIC UP - NO AUDIO</p>
<p>CLOSE UP - OBSERVER</p>
<p>His eyes soften at the sight.  He's wanted this moment for five years.</p>
<p>OBSERVER'S POV</p>
<p>Though Sam is facing him, he is preoccupied. In a split second, Sam looks up and catches the camera's lens. He sees Al and tries not to succumb to the emotions welling up.</p>
<p>SAM</p>
<p>(mouthing the word)</p>
<p>                        Al.</p>
<p>ANGLE OBSERVER</p>
<p>He is too overcome to answer.</p>
<p>TWO SHOT - SAM AND OBSERVER</p>
<p>As Sam leaves his wife and goes to Al. The moment the two hug revert to</p>
<p>REAL TIME</p>
<p>In the background everyone claps or cries or does both.  Even Al.</p>
<p>SAM</p>
<p>                        Al. You're crying?</p>
<p>OBSERVER<br/>(blustering)</p>
<p>                        No, I'm just trying to see rainbows.</p>
<p>They hug again. </p>
<p>SAM</p>
<p>                        Wait. What ever happened to Ray? I have to...</p>
<p>A techie in the background steps forward</p>
<p>RAY</p>
<p>                        I'm OK, Doctor Beckett.</p>
<p>Everyone does a double-take.</p>
<p>SAM</p>
<p>                        You're Ray?</p>
<p>He shakes his head to clear the cobwebs, squinting at the young techie to fit the look with the older features.</p>
<p>SAM<br/>(in slow realization)</p>
<p>                        Of course you're Ray. I hired you at the start of the Project.</p>
<p>OBSERVER</p>
<p>                        Geeze. You must have hit pay dirt with this kid, Sam.</p>
<p>SAM<br/>(to Ray)</p>
<p>                        Do you know about this last leap?</p>
<p>RAY</p>
<p>                        You were helping a boy with AIDS.</p>
<p>SAM</p>
<p>                        And that doesn't sound familiar?</p>
<p>RAY</p>
<p>                        Well, I had pneumonia once.</p>
<p>DONNA</p>
<p>                        What's wrong, Sam?</p>
<p>SAM</p>
<p>                        Wrong? Nothing. Everything's terrific.  I'm back.</p>
<p>He picks her up and swings her.</p>
<p>SAM<br/>(continued)</p>
<p>                        And I'm a daddy.</p>
<p>Donna draws close to her husband.</p>
<p>DONNA<br/>(quietly)</p>
<p>                        Happy father's day, Sam.</p>
<p>FADE OUT INTO</p>
<p>
  <strong>MONTAGE </strong>
</p>
<p>Sam reacquainting himself with homelife. Diaper changing with John. BBQ's with friends and family. Lite beer, microwave popcorn and watching videos with Al. A visit to his father's grave. End with car trip to church.</p>
<p>EXT. DAY - CHURCH PARKING LOT</p>
<p>Sam, Donna, and Baby John are dressed for Sunday service. They pull into the church parking lot, but can't find a space - the lot is almost completely full. License plates are from all over.</p>
<p>SAM<br/>(looking for a spot)</p>
<p>                        I thought this was only going to be for close family.<br/>                        Look at all these different plates.</p>
<p>DONNA<br/>(innocently)</p>
<p>                        I only invited family.</p>
<p>Sam gives her a "what's going on here" look.  They finally park in a red zone and climb the steps to the church entrance, Sam carrying John.</p>
<p>DONNA</p>
<p>                        Here, before we go in, let me take Johnny.</p>
<p>She takes him from Sam.</p>
<p>SAM<br/>(Even more suspicious)</p>
<p>                        Why?</p>
<p>DONNA</p>
<p>                        Get going.</p>
<p>Sam opens the door, and finds an incredible reception.</p>
<p>INT. CHURCH</p>
<p>SAM'S POV</p>
<p>It begins with Sam's family, Mom, Tom, Katie, and Katie's husband. Then folks from the Project: Al hand in hand with Tina, Gooshie, Verbena, Ray, a few more and then....faces from the past - older but happy and very grateful.A blond woman in her forties approaches him.</p>
<p>ANGLE SAM &amp; SAMANTHA</p>
<p>SAM<br/>(uncomfortable)</p>
<p>                        Do I know you?</p>
<p>SAMANTHA</p>
<p>                        My name is Samantha. You saved my life before I<br/>                        was born. My father was the first person you leaped<br/>                        into - Tom Stratton.</p>
<p>SAM<br/>(amazed)</p>
<p>                        You're...?</p>
<p>Smiling, she nods. Sam glances up the aisle to see the entire church filled with faces of people he remembers either in leaps or as mirrored reflections.  Sam turns around quickly to look at Donna.</p>
<p>DONNA</p>
<p>                        They're all here for you, Sam.  And these are just the<br/>                        people we were able to locate. Not one of them said<br/>                        they couldn't or wouldn't come.</p>
<p>Sam is too stunned to speak. He begins going down the aisle, hugging each person, taking a few moments to talk.</p>
<p>CUT TO:</p>
<p>The Christening.  Everyone is gathered near the baptismal font. Al, the godfather, is holding John. Katie, the godmother, is at his side. Sam and Donna hold each other next to them. </p>
<p>PAN UP to the Sun streaming through stain glass.</p>
<p>FADE TO:</p>
<p>INT. SAM'S MASTER BEDROOM - SUNRISE</p>
<p>Sam, shirtless<em> [it had to be done once]</em> is lying in bed next to Donna. He is studying John, who lies between them. Donna begins to stir.</p>
<p>ANGLE - SAM &amp; JOHN</p>
<p>SAM<br/>(to John)</p>
<p>                        ...and my string theory says that time is like a piece of<br/>                        string. Here is your birth and here is the end. Loop the string<br/>                        and you have a life. Ball it and you can travel...</p>
<p>DONNA</p>
<p>                        Isn't he a little young for that?</p>
<p>SAM<br/>(laughing)</p>
<p>                        You're never too young or too old. I learned that.</p>
<p>DONNA</p>
<p>                        Do you miss it, Sam?</p>
<p>SAM</p>
<p>                        The leaping?</p>
<p>(beat)</p>
<p>                        I miss the adventure. The absolute joy of making</p>
<p>                        something right.</p>
<p> </p>
<p>DONNA</p>
<p>                        Anything you missed back here?</p>
<p> </p>
<p>SAM</p>
<p>                        Microwave popcorn, lite beer,</p>
<p>Donna playfully punches him.</p>
<p>DONNA</p>
<p>                        Meany.</p>
<p>SAM</p>
<p>                        Please, not in front ...</p>
<p>SAM/DONNA</p>
<p>                        ...of the children.</p>
<p>They kiss to "make-up."</p>
<p>SAM<br/>(continuing)</p>
<p>                        Actually, if I start leaping again, I want to remember<br/>                        you both. You tell Al to tell me. Promise me, you'll<br/>                        let me remember this time, Donna.</p>
<p>DONNA<br/>(ignoring the question/concerned)</p>
<p>                        Do you think there's a chance of being leaped?</p>
<p>SAM</p>
<p>                        For the past couple of hours, I've had that feeling.</p>
<p>DONNA</p>
<p>                        That feeling?</p>
<p>SAM</p>
<p>                        When ever I'm about to leap, I get a tingling sensation.<br/>                        Sometimes I'm able to stop a leap, but never for very long.</p>
<p>DONNA<br/>(tearing)</p>
<p>                        But you can't leap; you're home.         </p>
<p>SAM</p>
<p>                        You know that I have no control over the leaps. If I'm<br/>                        going to leap it's because I'm ready to and He believes<br/>                        there's more for me to do.</p>
<p>DONNA</p>
<p>                        Are you ready? Do you want to go now?</p>
<p>Sam quietly takes her hand. There is an inner conflict he can't quite seem to solve. He looks into her eyes and knows he must tell her the truth.</p>
<p>SAM</p>
<p>                        No.</p>
<p>(beat)</p>
<p>                        And yes.</p>
<p>Donna can accept this. She knows the type of man Sam is. His quest and soul pure and noble.  But her eyes become misty and she holds him tighter.</p>
<p>SAM<br/>(continuing)</p>
<p>                        Do you want me to stay?</p>
<p>DONNA</p>
<p>                        Only when you feel you're work is finished.</p>
<p>SAM</p>
<p>                        But that could be....</p>
<p>DONNA<br/>(shushing him)</p>
<p>                        It's all right. I've waited so long already. I know you'll be back again.</p>
<p>SAM</p>
<p>                        Take care, both of you.</p>
<p>DONNA</p>
<p>                        We will...with your love.</p>
<p>They kiss for the last time, lingering with the moment - and, slowing, reluctantly, a blue glow crackles through his fingertips and moves inward.  Sam eyes, straining to capture every feature, are the last to be enveloped as he...</p>
<p>QUANTUM LEAPS</p>
<p> </p>
<p>
  <span class="u">
    <strong>END ACT IV</strong>
  </span>
</p>
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